ART Punctuate!

Everyday Art Pic #6: Conversations with a Light Switch

Graffiti Conversations on Bathroom Walls @ The Hungarian Pastry Shop

Everyday Art Pic #5: The Painted Palin

Westside Highway

Joan Rasmussen: The Giver of New Life

An old rusty bell, discarded spring coils, splintered wooden dowels; artist Joan Rasmussen has a knack for spotting these intriguing objects and giving them new life and meaning long after their original purpose for existing has long passed.   

I met Joan at the SOFA expo awhile back where I was drawn to a display of  whimsical doll figures displayed on a chalkboard wall filled with curious sayings. She combines the objects she finds with ceramic arms, legs and heads that she makes herself.  I stopped to talk to her and she shared with me tidbits about her life as an artist:

• She first started out as a trained painter, then turned to ceramic arts 10 years ago. She spent five years learning  the craft, including studying at  Penland School of Crafts. 

•  Before she takes a "found object"  home,  she must first connect with it and be able to envision how it will be used in a new piece of artwork.  

• She was once fired as a Girl Scout Troop Leader  for turning a troop meeting into an art event (though the Scouts themeselves thought she was "the coolest leader ever"). 

• She says: "Collecting, gathering, and repurposing is a favorite pastime.  It was therefore natural and predetermined that I would incorporate found objects with my interpretation of the figure."

• Although she is a ceramics artist now, she is still most comfortable with a painter's tools. She uses brushes instead of the traditional ceramic tools to sculpture her figures, snapping off the ends of the long brushes to make them easier to use. 

To learn more about the work of Joan Rasmussen, visit her site at www.joanrasmussen.com

www.joanrasmussen.com

 

An figure created using a old bell Joan salvaged from a place in Roanoke, Virginia

www.joanrasmussen.com

Ink, Pen and a Courtroom: An Artist Remembers the Trial of Adolf Eichmann

Art & History

Etching His Way into History

Looking far younger than his 78 years, it is hard to imagine that artist Edward Eichel, was in the courtroom 50 years ago during the notorious  trial of Nazi Adolf Eichmann. When I first interviewed Mr. Eichel a few months ago, he told me that he was a press artist for this trial, but it wasn't until he called recently to inform me about the trial's 50th Anniversary that I visualized the young and budding artist sketching the infamous man in the courtroom.  

It is a unique situation, for an artist, when your most well known art works are intertwined which such a well documented and emotionally charged period in time. I sat down with Mr. Eichel to discuss how, with pen and pad in hand, he etched his way into history.   

 

"Eichmann Face" drawing by Edward Eichel 

ART Punctuate: How did you become a courtroom press artist for this trial?

Eichel: A Jewish literary magazine L'Arche in Paris had published an article on my art titled "Israel on the Line of a Pen." At the time the Eichmann trial was near the verdict, I acquired a letter from the editor commissioning me to cover the trial. Although none of my immediate family were Holocaust victims, I felt compelled to return to Israel and do whatever I could as an artist. But once there, the police at the court house were reluctant to permit me to enter the courtroom. The prominent Israeli architect Dov Carmi, a close friend who happened to be in the room, walked up to me and asked "Edward, what do you need?" The police were stunned. They responded to Carmi, "Do you know him?" Mr. Carmi said, "He's my relative!" They processed me in about five seconds [and allowed him into the courtroom].

 

Why did you feel so compelled to contribute your artistic talents this way?

I was in Paris at the time of the trial and I remember sitting in a Paris theater and  hearing about the Eichmann trial.  I kept thinking, you know, you have to see Eichman to see what he really is. You can put together words [in an article], but I knew that the way that I draw would capture the character of this man. There was only one film company that was allowed to capture the trial at the time, but I felt that something more could be done. The man's character was very evident in-person.   I felt I could do something different, something powerful. 

Where are the original drawings?

My original drawings, which were published in Haim Gouri's The Glass Cage: The Jerusalem Trial (1962) have been on loan to the Dallas Memorial Center for Holocaust Studies in Dallas, Texas since 1994. 

"Group watching" drawing by Edward Eichel 

 

"Judges" drawing by Edward Eichel

How long did you draw at the trial?

I was there for two weeks and I went everyday to draw.  I  got tense that none of the drawings were good and I began to do a form of gesture drawing (Eichel waves his hands back and forth to demonstrate the technique)...and some ink blots fell onto the paper. It came out very unique. I think it made the drawing better. But I was able to break the tension of that moment.

 
"Ink Drop" drawing by Edward Eichel

 

How many other artists where at the trial?

I don't know how many artist there were. I remember the artist Ronald Searle being there. He is a cartoon artist. I read he had to memorize the image and then make notes because he wasn't allowed to do drawings in the courtroom.  I have seen other artists' work regarding the trial on the internet and some galleries have showcased the work. I am glad that I got to the trial and did what I did.

Did you know you wanted to be a courtroom artist?

No. I didn't even know it was a career at that point. 

 

Where do you see your drawings as they relate to history?

Considering my first motivation was that I wasn't satisfied [with the documentation of the trial] I felt that it was possible to capture something that you couldn't see in a photograph. Something that was really unique and important. I called myself a press artist. I accomplished that.

 

 "The Cage" drawing by Edward Eichel

Nick Papadakis: The Evolution of an Artist

 

Nick Papadakis

 "The cure for boredom is curiosity. There is no cure for curiosity."  - Dorothy Parker

Something tells me that artist Nick Papadakis is rarely ever bored, especially since he fully admits he is often very curious.  An artist since he was a teenager, Nick Papadakis, has a body of work that spans across decades; twisting and turning through a variety of different mediums and techniques. With a penchant for  questions, his artwork serves as a series of explorations in search of the answers to life's many mysteries. 

In this ART Punctuate! Artist Profile, Nick talks about what inspires him to create, and explains how a fascinating occurrence in the studio lead him to a unique technique he calls "Erosion Painting." 

Check out Artist Profile: Nick Papadakis below...

 

Artist Profile: Nick Papadakis from Art Punctuate on Vimeo.

 

 

"Riding High on the Slick of Civilization"

 

"Emergence"

Jan Huling: "The Beadist"

Jan Huling’s booth at last week’s SOFA Expo  caught my eye with its vibrant colors and interesting sculpture. But it wasn’t until I got closer that I realized everything was covered in beads! Gazillions of them.  Tiny, tiny beads only a few times the size of large grains of sand. 

Jan Huling calls herself "The Beadist" and beads just about every interesting object she can get her hands on:  guitars, matchstick boxes, tables, teapots, Buddha statues, a box of mannequin hands she bought off a friend, the list goes on and on…

Her  website warns “she is liable to bead anything that stands still.”    I secretly kick myself for not holding my breath or standing still enough during the interview.

 

Jan Huling

Jan Huling


From website www.janhuling.com

Jan’s designs are so intricate and well designed, with a seemingly perfect placement of every single bead.   Had someone like Jan Huling showed up at Career Day decades ago when I was in middle school, I surely would have chosen a different career. Why didn't anyone tell me that "Beader" was a viable option?

Here is what ART Punctuate found out about Jan Huling during an interview with “The Beadist.”

• Most of the things she beads are found objects. She says, “I always have my eye open for a good shape.”

• She was inspired to start beading after her sister beaded a Pez Dispenser. Jan joined her sibling on the "beading bandwagon" and first beaded several Kazoos.

• She quit her day job two years ago because she knew that in order to build a complete body of work she would have to “bead” full time.

• A signature trademark on her beaded birds, dolls and animals? A fancy beaded booty-hole, "just in case they need to poo.”

• Jan is now represented by the Lyons Wier Gallery  after participating  in the The ART Bazaar where she sold $10,000  worth of beaded sculptures in 10 hours . 

• She was a commercial artist for 30 years, including time spent at Hallmark as a greeting card designer.

• She turned down a full-time job with Avon  after 9/11, to pursue her  passion, not because Avon isn't completely fabulous and wonderful, but because "life is too short to go out working for someone else."

• One object Jan beaded that was not a "found object", was a  mold her  husband, who is also an artist, made for her in the shape of a human heart (I guess you could say "she beaded his heart...lol")

I checked out Jan's website and particularly liked "Beaded Mao Shelf" and  "Bad Baby".  I speculate that a woman who can bead this intricately must be disciplined, organized and head-smart, but also judging by her subject matter (and the silver studded booty-holes) whimsical, fun and open-minded. If my thoughts are correct, a very nice combination indeed. 

Jan Huling not only seems to love what she does, she looks like she loves what she does. Youthful and effervescent, I have a hard time believing she has been a commercial artist for 30 years. Goes to show, do what you love and the beauty will follow. 

When I ask her what’s the best thing about being an artist, she takes a moment to think….but then perks up and quickly replies “It’s Sexy!”

I have to say, I couldn’t agree more. 

Princess in the Bean?: Kate, Like Jesus, Appears in Strange Places

 

I had to take a minute out of my oh so busy day to acknowledge this important occurrence. 

Soon-to-be Princess Kate Middleton can now join the likes of Jesus as having her image appear in bizarre places.

At first, I rolled my eyes when I read an article that said a man was selling a  Jelly Bean on Ebay that had Kate Middleton's face on it.

But then....I saw  "The Bean." 

 It seems, my friends, that Art, like God, really is everywhere. 

 

Scroll down to see what will most likely be cherished for eternity as  "Princess Portrait in the Bean."

 

 

 

 

 

 

Kate Middleton's next appearance? On black velvet I'm sure. 

Blood Art: How Vile is Painting with Vials?

 

Would you be grossed out or intrigued if someone told you they had just purchased the most magnificent painting ever...and it was all made with human blood?  

I have been thinking about the Daily News article my friend sent me the other day reporting on celebrity photographer/artist Tyler Shields' latest artistic endeavor; painting an artwork using celebrity blood. My emotional pendulum  regarding this concept is still oscillating. 

At least 20 of Hollywood's famous have offered up their veins to give Shields the "ink" he needs for this sanguine artwork . The finished piece will be the focal point of his latest show "Life is Not a Fairytale" scheduled to open up on May 7th in Los Angeles.

I think about all that blood commingling, on the canvas and get a little unsettled....ok, strike that, I'm skeeved out.  

The Daily News reports, "We drew vials and vials of blood from people," Shields explained, as we grew weak in the knees. "I have a refrigerator full of blood right now in my bedroom, which is hilarious." ...or gross depending on your particular sensitivities. 

Like a rubber-necker staring at a train wreck,  I am curious about artists who have the desire and stomach to create this way.  I think it is macabre and slightly creepy, but nevertheless fascinating.  

Intrigued by the whole concept, I found a few more artists who paint in blood, including the Australian tattoo artist Rev Mayer who uses his own blood to create intricate works of art. At a recent Tattoo and Body Art festival Mayer was supposed to paint live, but the Health Department shut the whole operation down citing health reasons.

The next two artists on the list, Tinet Imgren and Vanessa Tiegs come with an extra caveat. Not only do they paint in blood, but the way they procure it is, well, very unorthodox.   I am too squimish and grossed out to go into details here... but if you dare, follow the link under each painting to see how these female artists get the blood they need to create.  

Double Eckk. 

Tinet Imgren

Vanessa Tiegs, Menstrala

 

Rev Mayer, The Blood Painter

MTA Bullies Artists Who Clean Up Their Trash

 

MTA: The New Acronym "Menace To Artists"?

By now much of the arts community has heard about how East Village artist VH McKenzie was strong-armed by the MTA for selling oil paintings she made on  discarded Metrocards. The MTA wants a piece of the action if McKenzie is going to sell the paintings (10 percent to be exact), claiming copyright infringement and lost revenue.  Hmmm...

Under their proposed profit-sharing agreement, The MTA would have collected a measly $10 from this  local artist who up until yesterday had only sold two of the Metrocard oil paintings  in 3 months (now, thanks to the media attention they are  sold out).

But what I want to know is, why is the MTA harassing this artist for cleaning up their trash?

If  you ask me, the MTA has far bigger issues it could (and should) work on correcting.

Watch the video for Ms. McKenzie's story and then scroll down...

 

 

So now, lets ask ourselves...

1. If I purchase a Metrocard...isn't that card now mine to do what I want with? If not, then aren't I simply LEASING the Metrocard and must return it?

2. Is this copyright infringement or a simple case of appropriation, "the use of borrowed elements in the creation of a new work"? (See the case of Andy Warhol's Campbell Soup paintings)

3. If the MTA is concerned about lost revenue from cards, then what widely advertised program does the MTA have for salvaging and recycling the tons of discarded Metrocards that litter streets and landfills every year?

4. Ms. McKenzie says she found many of these cards littering the street. In essence, shouldn't Ms. McKenzie be paid for cleaning up the MTA's trash? (If we don't own the Metrocards, to be able do what we like with them, then it is still the property of the MTA and they should handle their mess. )

 

Artists Highlight MTA's Bigger Issue 

 As far as I am concerned, a much BIGGER issue the MTA needs to focus on is why these artists are able to get their hands on all of these extra Metrocards in the first place. 

Last week artist Stephen Shaheen was in the news for designing a beautiful bench using many of the 5000 discarded Metrocards he was able to find from different sources. Another blog called singlefare displays Metrocard art made by artists. 

Ms. McKenzie, Mr. Shaheen and other artists are able to make this kind of art for one simple reason. Metrocards are incredibly wasteful. On any given day, the average New Yorker can pick up (in under 10 minutes) 15-20 cards lying around on sidewalks, steps and subway platforms. Should Ms. McKenzie and others be applauded or harassed for turning this trash into treasure?

These artists are calling attention (albeit unintentionally) to an issue that is far more consequential than a few bucks in copyright revenue. The MTA needs to be more concerned with the environment and find a way to recycle, reuse, repurpose these cards.  Artists are doing it. So should the MTA.

"Metrocard Bench" by Stephen Shaheen

 

 Samuel Evensen "Metrocard Art" on Singlefare.blogspot.com

 

 In the past, the MTA has been otherwise very "artist friendly." Over several years, the MTA has supported the arts, in particular musicians with their Music Under New York  program. Why not do something similar with visual artists? A couple of suggestions:

1. Team up with visual artists and turn Metrocards into Collectibles: VH McKenzie's work reminds me a lot of Artist Trading Cards. The MTA should partner with artists and create a "Metrocard art series". Maybe this way the cards will then have value, interest and appeal beyond their 5- ride shelf live. People may have incentive to hold onto them or collect them  rather then  tossing them onto the subway tracks.  

2. Sponsor an "Subway Art" exhibit: Good publicity for the MTA could be supporting rather than prohibiting artists  and celebrating the art they  make from the MTA discards.  

The MTA has much BIGGER FISH TO FRY and it's called "cleaning up Metrocard litter." Until the MTA can find a way to solve this problem... 

leave the artists alone who are cleaning up your trash. 

 Just a thought.

Delphine Diallo: How to Crash an Art Viewing Party

 

Last week, after receiving an announcement through the "internet grapevine", I went to see the work of Delphine Diallo and ended up having quite a unique experience. The collaged photograph on the invitation intrigued me so much that I decided I would go and see her work up close and in-person. I hadn't encountered Ms. Diallo's work before but it was reminiscent of the renowned photographer Peter Beard's style.  I rsvp'ed to the event and asked for a confirmation. Radio silence. I decided to go anyway.  Little did I know that I'd be crashing her private art viewing party.

Work of Delphine Diallo

As soon as I walked into the studio space on 20th Street, I could tell that I had stumbled into a party that was a little bit more "exclusive" than I expected. The space was small and intimate. Everyone knew each other and exchanged the hugs, kisses and banter of familiar friends. I was the orange at this party of apples.  But, life is entirely too short to pass up an interesting opportunity, so I stayed and eased my way into the mix...